Ellie Goulding Thinks We All Need to Be More Selfish

Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
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Ellie Goulding Thinks We All Need to Be More Selfish

Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)
Singer Ellie Goulding poses for a portrait, Monday, March 13, 2023, in Los Angeles. (AP Photo/Chris Pizzello)

Throughout her career, Ellie Goulding has been candid about the drawbacks of fame. Although she remembers being a self-conscious teenager, Goulding said her struggles with panic attacks, anxiety and insecurity about how she looks were exacerbated in the early stages of her stardom.

“I was kind of thrust into this world,” she recalled. “I didn’t really get a chance to sort of do that thing that everyone gets to do where they kind of come out of that teenage phase, like start to find yourself.”

But as Goulding gears up to release her fifth studio album, “Higher Than Heaven,” on Friday, the British pop star declared she is done caring about what other people think, The Associated Press said.

“I can’t allow those comments and those opinions to affect me. I can’t. Life is too short,” Goulding said in a wide-ranging interview with The Associated Press. “I think we all need to be way more selfish and stop doing things for other people."

But even as she professes to put herself first more, Goulding does want to use her clout to speak up for those “who don’t have a voice,” including the people most vulnerable to the effects of climate change and the planet itself.

As she finalizes the details of her upcoming tour, the outspoken climate activist and UN Environment goodwill ambassador is putting her money where her mouth is by only agreeing to play venues that can meet her standards of environmentally sustainable practices.

“We’re trying to figure out a tour that’s very green and has the smallest possible carbon footprint,” she said. “I really care about that stuff and it just takes a little bit more time and energy and effort to figure it all out.”

Goulding is cognizant of the amount of pollution and waste that results from a typical tour, from the travel involved to the merchandise sold and large quantities of plastic used.

“There’s like so much plastic backstage,” she said.

But for her, the extra work is worth it to return to the stage. Like many artists at the beginning of the coronavirus pandemic, Goulding was unable to take her last album on tour when it was released in July 2020.

“As a performer, I didn’t realize how much it was really holding me together. Even just the act of singing is really a powerful thing,” she said. “I was doing it all the time and then I stopped. And suddenly my anxiety came back and I felt something was really missing.”

While she is happy to return to the familiarity of performing and making electronic music, a genre she said she grew up on, Goulding mused that she would consider new collaborators and possibly even new styles of music in the future.

“I think for the next album I might experiment a bit,” she said.

“My voice carries everything I do and so, I feel like I could put out a classical album tomorrow and people would be like, ‘Yeah, that’s Ellie, isn’t it?’ So, I feel like I can get away with that,” she laughed.

Goulding’s outlook on pleasing others isn’t the only thing that has undergone profound shifts since the singer rose to fame more than a decade ago. In that time, the way people listen to and discover music has fundamentally changed, as well as the way artists are often expected to engage with fans.

“I do feel a little bit lucky that I came through as an artist in a time when there was no social media,” the 36-year-old said as she reflected on the current ubiquity of platforms like TikTok and Instagram and the influence they have on the music industry.

Although she is looking forward to fans hearing the “uplifting, upbeat” sound of “Higher Than Heaven,” Goulding said her expectations surrounding album releases have been tempered in recent years.

“Every other album gets like a big build up and a big release. And it feels like something has shifted,” she said. “People are just really on a kind of quest for more and more information, more and more songs and music, more behind the scenes with songs, more collaborations.”

In the midst of the industry’s insatiable appetite for more, Goulding finds solace in “Sex and the City” reruns and regular exercise, something she still prioritizes after becoming a mom.

“It’s kind of always been a constant thing in my life. Everything else is chaotic and the one thing I can rely on is running and going to the gym,” she said, adding that working out helps her stay mentally “in the best possible place” for her son, Arthur.



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."